CHAPTER 4 Growth, Diversity, and Conflict 1720–1763 James A. Henretta Eric Hinderaker Rebecca Edwards Robert O. Self America’s History Eighth Edition America: A Concise History Sixth Edition CHAPTER 4 Growth, Diversity, and Conflict 1720–1763 Copyright © 2014 by Bedford/St. Martin’s

1. Describe the central action of this image 1. Describe the central action of this image? Who are the people depicted, and what are they doing? (Answer: Central figure is George Whitefield, the English minister whose compelling preaching transformed the local revivals of the 1730s into the Great Awakening. He is preaching without notes, in a dramatic fashion, and attracting a large audience. Most of the listeners are rapt, and a few, such as the woman crossing her hands over her chest, appear to be overcome.) 2. What does the image suggest about who was attracted by Whitefield’s appearances and his message? (Answer: The crowd is diverse in terms of gender, age, and social class, showing that a variety of American colonists attended Whitefield’s revivals and were influenced by his sermons.)

I. New England’s Freehold Society A. Farm Families: Women in the Household Economy 1. Husband the head of the household 2. Wife as the “helpmate” 3. Motherhood 4. Restrictions

1. What is the scene depicted in this needlework stitched by Connecticut woman Prudence Punderson in the 1770s? (Answer: Scene depicts a New England woman—Punderson herself—sitting in a well-appointed room with a black servant and a baby and a coffin inscribed with her initials. In the image, Punderson looks to be drawing or performing needlework of some kind.) 2. What does the image reveal about the experiences of women living in New England in the eighteenth century? (Answer: The domestic scene was typical for women in well-to-do families. It shows the importance of motherhood, the regular presence of servants, and white women’s leisure-time activities. The existence of the amazing needlework shows that women like Punderson had the interest and time to develop their artistic talents. Presence of coffin shows that death was a regular occurrence and part of women’s daily lives.) 3. Why do you think Punderson entitled this piece The First, Second and Last Scenes of Mortality? (Answer: Piece depicts three stages of Punderson’s life—herself as a baby, a young woman, and her own death. It shows her awareness of human vulnerability and the brevity of life. Punderson had frequent bouts of ill health as a young woman and, in fact, died shortly after the birth of her first child.)

I. New England’s Freehold Society B. Farm Property: Inheritance 1. Family authority 2. Children of wealthy parents 3. Marriage 4. Father’s duty

I. New England’s Freehold Society C. Freehold Society in Crisis 1. Population increase 2. Changes in family life 3. “Household mode of production”

II. Diversity in the Middle Colonies A. Economic Growth, Opportunity, and Conflict 1. Tenancy in New York 2. Conflict in the Quaker Colonies

II. Diversity in the Middle Colonies B. Cultural Diversity 1. Religious and ethnic diversity 2. The German Influx 3. Scots-Irish Settlers 10

II. Diversity in the Middle Colonies C. Religion and Politics 1. Religious diversity

III. Commerce, Culture, and Identity A. Transportation and the Print Revolution 1. Improved transportation networks 2. Print revolution

III. Commerce, Culture, and Identity B. The Enlightenment in America 1. The European Enlightenment 2. John Locke 3. Franklin’s Contributions

III. Commerce, Culture, and Identity C. American Pietism and the Great Awakening 1. Pietism 2. New England Revivalism 3. Whitefield’s Great Awakening 17

III. Commerce, Culture, and Identity D. Religious Upheaval in the North 1. Old Lights and New Lights 2. Challenges to authority

III. Commerce, Culture, and Identity E. Social and Religious Conflict in the South 1. The Presbyterian Revival 2. The Baptist Insurgency 20

IV. The Midcentury Challenge: War, Trade, and Social Conflict, 1750–1763 A. The French and Indian War 1. Conflict in the Ohio Valley 2. The Albany Congress 3. The War Hawks Win

1. Who is the figure in this portrait 1. Who is the figure in this portrait? (Answer: Mohawk Chief Hendrick, British ally in Seven Years’ War.) 2. How did Hendrick’s clothing express his status and allegiances? (Answer: Hendrick’s dress is a sign of honor bestowed upon him—British recognition of his support during war and an elevation of his regular status. His presentation with a tomahawk and wampum belt reveals that both the subject and the artist also valued his status as a Mohawk warrior.) 3. This portrait was painted in England. Do you think an American artist might have painted Hendrick differently? (Answer: American artist might have painted Hendrick similarly—he was an ally of Americans and British and both sides would want to honor him.)  

IV. The Midcentury Challenge: War, Trade, and Social Conflict, 1750–1763 B. The Great War for Empire 1. The Seven Years’ War 2. Pontiac’s Rebellion 24

IV. The Midcentury Challenge: War, Trade, and Social Conflict, 1750–1763 C. British Industrial Growth and the Consumer Revolution 1. Resources 2. American consumers

IV. The Midcentury Challenge: War, Trade, and Social Conflict, 1750–1763 D. The Struggle for Land in the East 1. Land disputes

IV. The Midcentury Challenge: War, Trade, and Social Conflict, 1750–1763 E. Western Rebels and Regulators 1. The South Carolina Regulators 2. Civil Strife in North Carolina